Museum of Display













Photographic credits: ©, Copyright, Jan Mast

Secret Liaison Hideaway Airspace (amœba joinery simple growth)

Greeted by coincidentally laid-on festivities, coming out into the light of day, finding their way back the way they came, the visitors return, many times over at that (having seen all the sights there are to be seen).

Perfectly completing everything, thrown in for good measure, (with lifeboats, cabins, gangways and engine rooms), with a touch of stern fortress, naval port and aircraft carrier battleship, but fallen ancient civilisation and empire, throwback to advanced, seaside holiday resort popular entertainment venue and open-air swimming-baths, all in all. To happily drift, float, ramble, swim and waft about in, extracted from their natural habitat, preserved inside clear blue sky, housing the only ever known real live feint clouds to be held in captivity, ultimate jewel in the crown is a vivarium tank. Beamed through 4-sided tubular chutes, ducts and pipes, a mesh of strategically positioned grills channel traffic of cargo deliveries to order and commuters on pilgrimage alike. Far exceeding capacity of actual size limits, consumed and taken up by impenetrable obstacle races and assault courses, every space. Behind wafer thin partitions, while whole wide continents are walled-up in cramped cupboards, the most unfathomably deep of walls contain narrow and low mouse-holes.

With many intermediate transitional landmarks and milestones along the way (whatever unfindable however that turns out to be), helpfully indicated and pointed out clearly by everywhere else, meandering and digressing direction and route arrives at terminal destination of arrow shaped room somewhere. All opening inwards onto somewhere far larger than enclosure occupied, each frame touching onto the next one, usually tending to be more or less 3 doors, the movable and itinerant centre can and will end up anywhere. Everywhere turns up unexpectedly anyway, because sooner or later, so is getting lost, but then again, getting to or simply pinpointing anywhere is impossible. But completely unclear as to how or why, everywhere leads towards and connects up with somewhere else, one way or another. Then leave to go somewhere else, approach and linger awhile, entrances, exits and the places themselves. Take in everywhere slowly and go nowhere fast, climb up and down stairs, pass through moving monastic hospital corridors and tunnels, always on the move, shift in transit, travel about, all chambers and their contents. Long very for still stays or way same the remains ever that nowhere is there. Finite end to it all or happy ever after, middle somewhere in between, was not and never will be any beginning to start with, there is no, around here.

The housing that shows off these treasures, valeted for conversion as cabinet niche and display vitrines, tool-kit cases transfer into fireplace hearths. Providing raw material reserves and specialist equipment with which to draw, engrave, sculpt and paint one marvel after another; loosening gaseous and liquid powdered gold, as they do so, unearth and revive fossil fuel light, motion and sound sources, members of both personnel stumble upon, that whole episode got out of the way and put behind them. Without incident, fortunately, introduce themselves and are brought together, they meet up, half-way between. Neighbours their up clean and out dig involved sides different two the. Pitted at complete odds against the other, despite each serving cross-purposes, at the same time, nearby, unaware of what the others are doing, these separate parties carry on regardless. Heading straight ahead towards same direction, tunnelling through, cut, bore, pound, grind and hack, chisel, file, hammer, pickaxe, hatchet, shovel, drill and saw, coming from opposite end. Atmosphere through slice and thick on it lay blades flat. Mixed up with still more to fortify, build and make new, harvested and earns interest to be spread and rubbed back in, ensuing produce is gathered up. While sink plunger unblocks plumbing and drainage; then mop and bucket to wash and polish, for sponge to soak up and towelling to dry out; rough scouring pads and harsh detergents thoroughly scrub them down; stuck onto mid and thin air worktop surfaces, scrape off and clear away protectively layered coatings of dirt, left behind, broom, dustpan with brush and feather-duster sweep up. Laying down the foundations and paving the way forwards, still are and ever will be by spring-cleaning operation, has always been, original discovery and ongoing reinvention was.

Also, curves, arcs and circles, sometimes; as well as cubic and rectangular holes and lumps; each single one of them, grown out of, built up from, broken down as, cut up into and taken apart leaving triangular gaps and solid wedges; before ending up staying like that forever; agreeing to recline and lie flat down backwards; all of their sides, heads and toes touching onto and joined with those of the rest; opaque filled in conservatory, hollowed out crystal mountain, resinous jelly great pyramid and upholstered marquee tent (lop-sided, asymmetrically irregular and the whole lot) once crossed paths and came together; for, as age-old legend has it (this very day re-enacts itself to time-honoured tradition), this was the very spot where.

Just what the doctor ordered all along, yet it all turns out to be the very breakthrough needed. They arrive at entirely the wrong address, misdirections and changes of plans, after many false starts, having no goal or mission to begin with. Helping them find their way back to drawing-board square-one again afterwards, laying snail-trail of cords behind them, all roped together so they don’t lose track of each other, intrepid expedition committee sets out on a mystery quest.

'Secret Liaison Hideaway Airspace (amœba joinery simple growth)', with Nico Dockx, Extra City, Antwerp, 2011
©, Copyright, Douglas Park, 2011


Extra City Kunsthal Antwerpen
Tulpstraat 79, BE-2060 Antwerp, Belgium

With works and interventions by Isabelle Cornaro, Josef Dabernig, Neïl Beloufa, Jill Magid, Nico Dockx, Kris Kimpe, Metahaven and Douglas Park

20 May – 3 July 2011

Kim Kim Schaulager Open House















May 2011
Seoul

Photo by Sunyoung Oh, Jina Hyung, Jina Park, Som Lee

생각을 빚다

개념의 형상화… 조각가 정서영씨 전시 

조각가 정서영씨가 서울 신사동 아틀리에 에르메스에서 자신의 작품‘거위’(왼쪽) 옆에 앉았다. 들어온 쪽 맞은 편으로 난 또 다른 흰 문을 열고 나가면, 유리벽을 통해 햇볕이 스며드는 나무 마루 위에 2m 짜리 인조 파초를 여러 개 꽂은 둥근 시멘트 덩어리가 놓여있다. ‘1년에 한번은 치워야 할 것’이라는 제목이 달려있다. “어려서 흙 장난 할 때, 흙 더미를 쌓아 무엇인가를 만들고, 나뭇가지를 꽂아 아무 것도 아닌 것을 ‘완성’한 것을 자축하고, 돌아서서 잊어버리던” 작가의 기억이 스며있는 작품이다. 그 옆엔 작가의 공책에 적힌 길이 4㎝ 짜리 의미 없는 낙서를 4.6m 크기로 확대한 뒤, 그 모양 그대로 반 뼘 높이 알루미늄 틀을 만들어 모래를 채운 ‘정오에서 자정까지’가 놓여있다. 한 평론가는 정씨를 두고 “구체적인 사물이 아니라, 인간의 머리 속에 존재하는 ‘개념’을 조각으로 만드는 작가”라고 말했다. 가령 ‘거위’는 이 세상에 살아있는 특정한 진짜 거위가 아니라, “우리들이 ‘거위’라고 생각하는 무엇인가의 표상”이라는 얘기다. 생전 눈(目) 싸움으로는 남과 겨뤄 져 본 일이 없을 듯한 눈동자로 전시장을 둘러보면서 정씨는 “무슨 뜻일까, 생각하며 보지 말아달라”고 말했다. “작품이 무슨 뜻인지, 어떤 의미인지, 정답을 찾으려고 궁리하지 말아주세요. 사물 하나 하나가 무엇인가를 상징하고 은유한다고 지레 믿지 말아주세요. 그보다는 작가가 작품을 ‘어떻게’ 다뤘는지, ‘왜’ 그렇게 했는지 궁금해하면서 봐주시면 좋겠어요.” 정씨는 “가끔, 대중과 소통하는 능력이 내 세포엔 없나 봐, 싶다”고 말했다. “작가마다 집중하는 부분이 달라요. 내가 집중하는 부분, 구체적으로 생생하게 느끼는 어떤 영역이 다른 작가나 대중과 공유할 수 없는 영역일 수도 있어요.” “그래서 외롭냐”고 묻자 정씨는 “외롭죠, 그렇지만 외롭다고 쓰지 마세요” 했다. “왜요?” 하고 되묻자, 그녀는 진지한 얼굴로 “쿨한 척 하려구요” 했다. 
 글·사진=김수혜 기자 조선일보 2007.03.27

경기도 미술관 소장품 

정오에서 자정까지

정서영(1964-)은 서울대학교 미술대학 조소과와 동 대학원 조소과를 졸업하고, 독일 슈투트가르트 미술대학 연구과정을 졸업했다. 정서영은 일상생활에서 접하는 사소하고 볼품없는 사물들이나 행위에서 출발하여 최소한의 개념적 변형을 가하는 작업들을 발표해 왔다.

2007
알루미늄, 모래, 시멘트, 인조식물, 베이클라이트, 조명기구
가변크기

정서영의 작품은 이질적인 오브제들의 구성에 토대를 두고 있다. 이 오브제들은 조용하고도 개인적인, 혹은 별개의 작품들로, 개별 작품들로서도 각각 설득력 있는 작품이지만 그 전체 구성을 통하여 하나의 이야기를 만들어내고 있다. 작가는 이미 알려진 이미지나 오브제를 사용하거나 복제할 뿐 아니라 자신의 작품끼리도 서로를 밀접하게 참조하면서 작가의 언어체계 이전에 내면의 눈으로 포착된 사물, 상황, 사건, 즉 말로 표현할 수 없는 비언어적인 것을 조형적으로 구현해내고 있다.

https://gmoma.ggcf.kr/%EC%A0%95%EC%84%9C%EC%98%81

Apple Vs. Banana Invitation Design



Invitation Design (final)
A Big Thanks to Kim Hyungjin (workroom) for helping

148x210mm
CCP paper 250g
1000 examples

킴킴 갤러리 정서영 개인전 엽서
1000부 CCP250g
갈색배경-앞면(매끈한부분) 노란배경-뒷면(거친부분)
실사이즈 148x210, 도련 각 3mm

May 2011

Apple vs. Banana site design


May 2011
Ansan

Dionysian Duty


'Dionysian Duty', group exhibition
co-curated by Douglas park &  Raul Pina Perez
Mezkalito Gallery, London
2007 

De-Hab / Re-Tox

Each facet to Dionysian Duty’, from even before idea and planning stages, whilst choosing artists and works, throughout following up and constant unfolding, then after eventual outcome and beyond overall experience has taken into account that age-old mutual interdependent cross-f
uelling which relays between creative and artistic practice and lifestyle and what’s known as excess and hedonism. 
Yet also considered all along are purpose-serving mechanisms, agencies, rules and procedures which monitor, control and use such phenomena towards attaining whatever ends; inevitable reality, whereby just about everything operates within and under ongoing conditions and circumstances, ultimately on behalf of vested-interests.
However, despite this guaranteed status-quo, there’s still much potential scope allowing for possible influence and change, maybe actually making at least some difference and even improvement, whether by stealth, only partially, more directly or far greater.

http://www.facebook.com/photo.php?fbid=152108238190180&set=a.152091124858558.37026.100001730141045&type=3&theater








images ©, Copyright, Bob Aitchison